This wasn’t the outlaw album as advertised. It was country twee with only a slight hint of rebellion. There’s nothing dark or sinister, only country-lite songs that seem to be sung with a smile and no menace. Sure, you don’t always want gloom. But you don’t always want generic country crap either.

⭐ ⭐

Over-produced. The songs would have benefitted more if they were raw. Sure, she has a half decent voice. But it’s also too AOL and MOR for me. No ta.

⭐ ⭐

This has way more balls than I was expecting. It was also quite soulful in places. The hammond organ hangs it all together.

⭐ ⭐ ⭐

I wanted to enjoy this. But it dragged. The rhythm and bounce of the album starts off decent. But then nothing much changes. You’ve heard it all after the first couple of tracks.

⭐ ⭐

Blue Lines still sounds fresh as fuck. I listen to it at least once a month. It makes me think that I am a character caught up in a film plot, walking around, as each scene and relationship changes. There’s so much in here - not just with the music, but the mental images that are created. Horace Andy steals the show, although any one of the nine tracks are worthy of being the best song on the album. My only disappointment was that it was over so soon. Outstanding.

⭐ ⭐ ⭐ ⭐ ⭐

For all their cold, European coolness, Stereolab write bloody good pop songs. The melodies and hooks aren’t hidden away underneath all the electronica, despite their best attempts. It’s makes for a compelling combination.

⭐ ⭐ ⭐ ⭐

I use to own a copy of this over 35 years ago. From memory I absolutely adored it. I barely recognised a song, apart from the Velvets cover, when I played it back this morning. It’s still a decent album. It just didn’t leave me hanging, wanting more. The mood is more late night than early morning. The ambience thing with the single mic works well. But not the masterpiece my memory wanted it to be.

⭐ ⭐ ⭐

The perfect beat, so to speak. This sounded like the future in 1983, and still feels the same now. the beats are so crisp. There’s also some half decent rhythms behind all the pulsating electronica. All good groups need a persona. The Soul Sonic Universe added to the mystery by building comic book characters around the music. Recent years have sadly soiled the legacy.

⭐ ⭐ ⭐ ⭐ ⭐

More wine bar wanker music.

⭐

Another Late Junction collab with Max Syedtollan meeting Chunky Mermaid. It’s quite magical, as well as absolutely bonkers, as you would expect from the Chunky girls. Max is a composer, adding a little grounding to the chaos with his keyboards; Chunky Mermaid add the colour, creativity and whistles. All nu rave projects need whistles, right? Late Junction is always essential for me at this time of the year. It’s a seasonal escape from all the Christmas crap that pretty much every radio station or show feels obliged to suffer upon you.